tag:blogger.com,1999:blog-221458702011-04-21T14:28:58.585-07:00Author: Chuan C. ChangRosyhttp://www.blogger.com/profile/10835542615317388768noreply@blogger.comBlogger11100tag:blogger.com,1999:blog-22145870.post-1139432997965159072006-12-08T12:46:00.000-08:002006-03-28T08:21:29.686-08:00<div align="center"><strong>Chapter 1</strong></div><div align="center"><strong></strong></div><div align="center"></div><div align="center"><strong></strong></div><div align="center"><strong></strong></div><div align="center"><span style="font-size:180%;"><strong>Technique</strong></span><br /></div><div align="left"><br /><span style="font-size:130%;"><strong>Introduction<br /></strong></span></div><ul><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/objective.html">Objective</a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/what-is-piano-technique.html">What is Piano Technique?</a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/technique-and-music.html">Technique and Music</a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/basic-approach-interpretation-musical.html">Basic Approach, Interpretation, Musical Training, Perfect Pitch</a></li></ul><p><strong><span style="font-size:130%;">Basic Procedures for Piano Practice</span></strong></p><ul><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/practice-routine.html">The Practice Routine </a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/finger-positions.html">Finger Positions</a> </li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/bench-height-and-distance-from-piano.html">Bench Height and Distance from Piano </a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/starting-piece-listening-and-analysis.html">Starting a Piece: Listening and Analysis (Fur Elise)</a> </li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/practice-most-difficult-sections-first.html">Practice the Most Difficult Sections First </a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/shortening-difficult-passages.html">Shortening Difficult Passages: Segmental (Bar-by-Bar) Practice </a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/hands-separate-practice-acquiring.html">Hands Separate Practice: Acquiring Technique </a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/continuity-rule.html">The Continuity Rule</a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/chord-attack.html">The Chord Attack</a> </li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/gravity-drop-chord-practice-and.html">Gravity Drop, Chord Practice, and Relaxation </a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/parallel-sets.html">Parallel Sets</a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/learning-and-memorizing.html">Learning and Memorizing </a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/velocity-choice-of-practice-speed.html">Velocity, Choice of Practice Speed </a></li><li><a href="http://fundamentalpiano1.blogspot.com/2006/03/how-to-relax.html">How to Relax </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/post-practice-improvement-ppi.html">Post Practice Improvement (PPI)</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/dangers-of-slow-play-pitfalls-of.html">Dangers of Slow Play - Pitfalls of the Intuitive Method </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/importance-of-slow-play.html">Importance of Slow Play </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/fingering.html">Fingering</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/accurate-tempo-and-metronome.html">Accurate Tempo and the Metronome </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/weak-left-hand-using-one-hand-to-teach.html">Weak Left Hand; Using One Hand to Teach the Other</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/building-endurance-breathing.html">Building Endurance, Breathing</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/bad-habits-pianists-worst-enemy.html">Bad Habits: A Pianist's Worst Enemy </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/damper-pedal.html">Damper Pedal </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/soft-pedal-timbre-and-normal-modes-of.html">Soft Pedal, Timbre, and Normal Modes of Vibrating Strings </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/hands-together-chopins-fantaisie.html">Hands Together: Chopin's Fantaisie Impromptu </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/summary.html">Summary</a> </li></ul><p><strong><span style="font-size:130%;">Selected Topics in Piano Practice</span></strong></p><p>1. Tone, Rhythm and Staccato</p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/what-is-good-tone.html">What is "Good Tone"?</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/what-is-rhythm.html">What is Rhythm?</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/staccato.html">Staccato</a></li></ul><p>2. <a href="http://contentspiano.blogspot.com/2006/02/cycling-chopins-fantaisie-impromptu.html">Cycling (Chopin's Fantaisie Impromptu)</a> </p><p>3. Trills & Tremolos </p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/trills.html">Trills</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/tremolos-beethovens-pathetique-1st.html">Tremolos (Beethoven's Pathetique, 1st Movement)</a> </li></ul><p>4. Hand, Body Motions for Technique</p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/hand-motions.html">Hand Motions</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/playing-with-flat-fingers.html">Playing with Flat Fingers</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/body-motions.html">Body Motions</a></li></ul><p>5. Playing Fast: Scales, Arpeggios and Chromatic Scales (Chopin's Fantaisie Impromptu, Beethoven's Moonlight, 3rd Movement)</p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/scales-thumb-under-thumb-over.html">Scales: Thumb Under, Thumb Over </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/to-motion-explanation-and-video.html">The TO Motion, Explanation and Video </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/practicing-to-speed.html">Practicing TO, Speed </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/scales-origin-nomenclature-and.html">Scales: Origin, Nomenclature, and Fingerings </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/arpeggios-chopin-cartwheel-motion.html">Arpeggios (Chopin, Cartwheel Motion)</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/thrust-and-pull-beethovens-moonlight.html">Thrust and Pull, Beethoven's Moonlight, 3rd Movement </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/thumb-most-versatile-finger-examples.html">Thumb: the Most Versatile Finger; Examples of Scale/Arpeggio Practice Routines </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/fast-chromatic-scales.html">Fast Chromatic Scales </a></li></ul><p>6. Memorizing</p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/why-memorize.html">Why Memorize?</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/who-can-what-to-and-when-to-memorize.html">Who can, What to, and When to, Memorize </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/memorizing-and-maintenance.html">Memorizing and Maintenance </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/hand-memory.html">Hand Memory </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/starting-memorizing-process.html">Starting the Memorizing Process </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/reinforcing-memory.html">Reinforcing the Memory </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/practicing-cold.html">Practicing Cold </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/slow-play.html">Slow Play </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/mental-timing.html">Mental Timing </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/establishing-permanent-memory-and.html">Establishing Permanent Memory </a><br />1. Hand Memory<br />2. Music Memory<br />3. Photographic Memory<br />4. Keyboard Memory -- Mental Play<br />5. Theoretical Memory </li><br /><li><a href="http://contentspiano.blogspot.com/2006/02/maintenance.html">Maintenance</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/sight-readers-versus-memorizers.html">Sight Readers versus Memorizers:</a> Learning Bach's Inventions; Inventions #1, #8, #13; Quiet Hands; Sinfonia #15 </li><li><a href="http://contentspiano.blogspot.com/2006/02/human-memory-function.html">Human Memory Function </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/how-to-become-good-memorizer.html">How to Become a Good Memorizer </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/summary_09.html">Summary</a></li></ul><p>7. Exercises</p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/introduction-intrinsic-limbering-and.html">Introduction: Intrinsic, Limbering, and Conditioning Exercises </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/parallel-set-exercises-for-intrinsic.html">Parallel Set Exercises for Intrinsic Technical Development </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/how-to-use-parallel-set-exercises.html">How To Use The Parallel Set Exercises </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/scales-arpeggios-finger-independence.html">Scales, Arpeggios, Finger Independence and Finger Lifting Exercises </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/playing-wide-chords-palm-stretching.html">Playing (Wide) Chords, Palm Stretching Exercises </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/practicing-jumps.html">Practicing Jumps </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/stretching-and-other-exercises.html">Stretching and Other Exercises </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/problems-with-hanon-exercises.html">Problems with Hanon Exercises </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/practicing-for-speed.html">Practicing for Speed</a></li></ul><p>8. <a href="http://contentspiano.blogspot.com/2006/02/outlining-beethovens-sonata-1.html">Outlining (Beethoven's Sonata #1)</a> </p><p>9. <a href="http://contentspiano.blogspot.com/2006/02/polishing-piece-eliminating-flubs.html">Polishing a Piece - Eliminating Flubs </a></p><p>10. <a href="http://contentspiano.blogspot.com/2006/02/cold-hands-illness-hand-injury-ear.html">Cold Hands, Illness, Injury, Ear Damage </a></p><p>11. <a href="http://contentspiano.blogspot.com/2006/02/sight-reading.html">Sight Reading </a></p><p>12. <a href="http://contentspiano.blogspot.com/2006/02/learning-relative-pitch-and-perfect.html">Learning Relative Pitch and Perfect Pitch (Sight Singing)</a> </p><p>13. <a href="http://contentspiano.blogspot.com/2006/02/videotaping-and-recording-your-own.html">Videotaping and Recording Your Own Playing </a></p><p>14. Preparing for Performances and Recitals </p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/benefits-and-pitfalls-of.html">Benefits and Pitfalls of Performances/Recitals </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/basics-of-flawless-performances.html">Basics of Flawless Performances </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/practicing-for-performances.html">Practicing for Performances </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/practicing-musically.html">Practicing Musically </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/casual-performances.html">Casual Performances</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/performance-preparation-routines.html">Performance Preparation Routines </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/during-recital.html">During the Recital </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/that-unfamiliar-piano.html">That Unfamiliar Piano </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/after-recital.html">After the Recital</a></li></ul><p>15. <a href="http://contentspiano.blogspot.com/2006/02/origin-and-control-of-nervousness.html">Origin and Control of Nervousness </a></p><p>16. Teaching </p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/types-of-teachers.html">Types of Teachers </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/teaching-youngsters-parental.html">Teaching Youngsters, Parental Involvement </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/memorizing-reading-theory-mental-play.html">Reading, Memorizing, Theory, Mental Play, Absolute Pitch </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/some-elements-of-piano-lessons.html">Some Elements of Piano Lessons </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/why-greatest-pianists-could-not-teach.html">Why the Greatest Pianists Could Not Teach </a></li></ul><p>17. Uprights, Grands, & Electronics, Purchasing and Care </p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/grand-upright-or-electronic.html">Grands, Uprights, or Electronics?</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/electronic-pianos.html">Electronic Pianos </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/uprights.html">Uprights</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/grands.html">Grands</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/purchasing-acoustic-piano.html">Purchasing an Acoustic Piano </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/piano-care.html">Piano Care </a></li></ul><p>18. How to Start Learning Piano: Youngest Children to Old Adults</p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/do-you-need-teacher.html">Do You Need a Teacher?</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/starter-books-and-keyboards.html">Starter Books and Keyboards </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/beginners-age-0-to-65.html">Beginners: Age 0 to 65+</a></li></ul><p>19. <a href="http://contentspiano.blogspot.com/2006/02/ideal-practice-routine-bachs-teachings.html">The “Ideal” Practice Routine (Bach’s Teachings and Invention #4)</a> </p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/learning-rules.html">Learning the Rules</a> </li><li><a href="http://contentspiano.blogspot.com/2006/02/routine-for-learning-new-piece.html">Routine for Learning a New Piece (Invention #4) </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/normal-practice-routines-and-bachs.html">"Normal” Practice Routines and Bach’s Teachings </a></li></ul><p>20. <a href="http://contentspiano.blogspot.com/2006/02/bach-greatest-composer-and-teacher-15.html">Bach: the Greatest Composer and Teacher (15 Inventions and their parallel sets) </a></p><p>21. <a href="http://contentspiano.blogspot.com/2006/02/psychology-of-piano.html">The Psychology of Piano </a></p><p>22. <a href="http://contentspiano.blogspot.com/2006/02/summary-of-method.html">Summary of Method </a></p><p><strong><span style="font-size:130%;">Mathematical Theory of Piano Playing</span></strong></p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/why-do-we-need-mathematical-theory.html">Why do we need a Mathematical Theory?</a> </li><li>The Theory of Finger Motion for Piano<br />a. <a href="http://contentspiano.blogspot.com/2006/02/serial-parallel-play.html">Serial, Parallel Play </a><br />b. <a href="http://contentspiano.blogspot.com/2006/02/speed-walls.html">Speed Walls </a><br />c. <a href="http://contentspiano.blogspot.com/2006/02/increasing-speed.html">Increasing Speed</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/thermodynamics-of-piano-playing.html">Thermodynamics of Piano Playing </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/mozarts-formula-beethoven-and-group.html">Mozart's Formula, Beethoven and Group Theory</a><br />a. <a href="http://contentspiano.blogspot.com/2006/02/mozart-eine-kleine-nachtmusik-sonata.html">Mozart: Eine Kleine Nachtmusik, Sonata K300 </a><br />b. <a href="http://contentspiano.blogspot.com/2006/02/beethoven-5th-symphony-appassionata.html">Beethoven: 5th Symphony, Appassionata, Waldstein</a></li><li><a href="http://contentspiano.blogspot.com/2006/02/learning-rate-calculation.html">Learning Rate Calculation </a>(1000 Times Faster!) </li><li><a href="http://contentspiano.blogspot.com/2006/02/future-research-topics.html">Future Research Topics </a><br />a. Momentum Theory of Piano Playing<br />b. The Physiology of Technique<br />c. Brain Research (HS vs HT Play, etc.)<br />d. What Causes Nervousness?<br />e. Causes of and Remedies for Tinnitus<br />f. What is Music?<br />g. At What Age to Start Piano?<br />h. The Future of Piano<br />i. The Future of Education </li></ul><p></p><p></p><p align="center"><strong>Chapter 2</strong></p><p align="center"><strong><span style="font-size:180%;">Tuning Your Piano</span></strong><span style="font-size:130%;"><br /></span><span style="font-size:100%;"></span></p><p align="left"><span style="font-size:100%;">1. <a href="http://contentspiano.blogspot.com/2006/02/introduction.html">Introduction</a> </span><span style="font-size:100%;"><br />2. <a href="http://contentspiano.blogspot.com/2006/02/chromatic-scale-and-temperament.html">Chromatic Scale and Temperament </a></span></p><ul><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/mathematics-of-chromatic-scale-and.html">Mathematics of the Chromatic Scale and Chords </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/temperament-music-and-circle-of-fifths.html">Temperaments, Music, and the Circle of Fifths </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/pythagorean-equal-meantone-and-well.html">Pythagorean, Equal, Meantone, and “Well” Temperaments </a></span></li></ul><p><span style="font-size:100%;">3. <a href="http://contentspiano.blogspot.com/2006/02/tuning-tools.html">Tuning Tools</a><br />4. <a href="http://contentspiano.blogspot.com/2006/02/preparation.html">Preparation</a><br />5. <a href="http://contentspiano.blogspot.com/2006/02/getting-started.html">Getting Started </a></span></p><ul><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/engaging-and-manipulating-tuning-lever.html">Engaging and Manipulating the Tuning Lever </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/setting-pin.html">Setting the Pin </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/tuning-unisons.html">Tuning Unisons </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/sympathetic-vibrations.html">Sympathetic Vibrations </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/making-that-final-infinitesimal-motion.html">Making that Final Infinitesimal Motion </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/equalizing-string-tension.html">Equalizing String Tensions </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/rocking-it-in-treble.html">Rocking It in the Treble </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/rumblings-in-bass.html">Rumblings in the Bass </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/harmonic-tuning.html">Harmonic Tuning </a></span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/what-is-stretch.html">What is Stretch?</a> </span></li><li><span style="font-size:100%;"><a href="http://contentspiano.blogspot.com/2006/02/precision-precision-precision.html">Precision, Precision, Precision </a></span></li></ul><span style="font-size:100%;"><p>6. <a href="http://contentspiano.blogspot.com/2006/02/tuning-procedures-and-temperament.html">Tuning Procedures and Temperament </a></p><ul><li><a href="http://contentspiano.blogspot.com/2006/02/tuning-piano-to-tuning-fork.html">Tuning the Piano to the Tuning Fork </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/kirnberger-ii.html">Kirnberger II </a></li><li><a href="http://contentspiano.blogspot.com/2006/02/equal-temperament.html">Equal Temperament</a></li></ul><p>7. <a href="http://contentspiano.blogspot.com/2006/02/making-minor-repairs-voicing-and.html">Making Minor Repairs (Voicing and Polishing the Capstans)</a> </p><ul><li>Hammer Voicing </li><li>Polishing the Capstans </li></ul><p align="center"><strong>Chapter 3</strong></p><p align="center"></span><strong><span style="font-size:180%;">Scientific Method, Theory of Learning and the Brain</span></strong></p><p align="left">1. <a href="http://fundamentalpiano3.blogspot.com/2006/03/introduction.html">Introduction </a><br />2. <a href="http://fundamentalpiano3.blogspot.com/2006/03/scientific-approach.html">The Scientific Approach </a><br />3. <a href="http://fundamentalpiano3.blogspot.com/2006/03/what-is-scientific-method.html">What is a scientific Method?</a><br />4. <a href="http://fundamentalpiano3.blogspot.com/2006/03/theory-of-learning.html">Theory of Learning </a><br />5. <a href="http://fundamentalpiano3.blogspot.com/2006/03/what-causes-dreams-and-methods-for.html">What Causes Dreams and Methods for Controlling Them </a></p><ul><li><a href="http://fundamentalpiano3.blogspot.com/2006/03/falling-dream.html">The Falling Dream </a></li><li><a href="http://fundamentalpiano3.blogspot.com/2006/03/inability-to-run-dream.html">Inability-to-Run Dream </a></li><li><a href="http://fundamentalpiano3.blogspot.com/2006/03/late-to-exams-or-getting-lost-dream.html">Late-to-Exam or Getting-Lost Dream </a></li><li><a href="http://fundamentalpiano3.blogspot.com/2006/03/solving-my-long-and-complex-dream.html">Solving my Long and Complex Dream </a></li><li><a href="http://fundamentalpiano3.blogspot.com/2006/03/controlling-dreams.html">Controlling Dreams </a></li><li><a href="http://fundamentalpiano3.blogspot.com/2006/03/what-these-dreams-teach-us-about-our.html">What Dreams Tell Us about our Brains </a></li></ul><p>6. <a href="http://fundamentalpiano3.blogspot.com/2006/03/how-to-use-your-subconscious-brain.html">How to Use Your Subconscious Brain</a></p><ul><li><a href="http://fundamentalpiano3.blogspot.com/2006/03/emotions.html">Emotions</a></li><li><a href="http://fundamentalpiano3.blogspot.com/2006/03/using-subconscious-brain.html">Using the Subconscious Brain </a></li></ul><p></p><p></p><p><a href="http://contentspiano.blogspot.com/2006/02/testimonials.html"><strong>TESTIMONIALS</strong></a></p><p><a href="http://contentspiano.blogspot.com/2006/02/preface.html"><strong>PREFACE</strong></a></p><p><a href="http://contentspiano.blogspot.com/2005/10/abbreviations-frequently-used-phrases.html">ABBREVIATIONS &amp; Frequently Used Phrases </a></p><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/22145870-113943299796515907?l=fundamentalpiano.blogspot.com' alt='' /></div>Rosyhttp://www.blogger.com/profile/10835542615317388768noreply@blogger.com0